Laughter & Loathing
Apple Watch Nike+
Silver Aluminium Case with Flat Silver/Volt Nike Sport Band
C. Navarra Pruna drawing of two doves.
A 160 g/m² Anvil t-shirt featuring a drawing of two doves made on an iPad by 82-year-old C. Navarra Pruna. 50% post-consumer PET recycled polyester, and 50% organic combed ring spun cotton for exceptional softness. Tubular construction. Comes without labels or tags, credits printed on top. Please note the partly recycled fabric is subject to present small defects, that give each t-shirt a unique, organic appearance. Edition of 30.
Black Rat, 2005
Blek le Rat
Spray paint and stencil on canvas
Work: 40 x 40 x 2 cm (15.75 x 15.75 x 0.79 in)
Frame: 40 x 40 x 2 cm (15.75 x 15.75 x 0.79 in)
Stencil signed on lower right, recto; signed and numbered in black felt tip pen on verso
Buy on Paddle8
Capri. The Diefenbach Chronicles #003, 2013
February 11–May 7, 2017
Plat(t)form 2017: January 27–29, Emerging artists and photographers present their portfolios
Grüzenstrasse 44 + 45
CH-8400 Winterthur (Zurich)
Hours: Tuesday–Sunday 11am–6pm,
Office facility and laboratory outside of Copenhagen
The Aquaporin office and laboratory is situated in an old factory and the location has been empty for more than 10 years. The building has originally been nominated as the best factory space as it was the first of it’s kind with windows in the roof.
Lepus Pellis Os Omentum (Four Works), 2014
Painted cast resin
10 x 5 x 8 in (25.4 x 12.7 x 20.32 cm) –
Dimensions apply to each
Spike Art Magazine #50
Spike 50 is all about the family: as structure, model, metaphor, as place of origin and point of no return. Do we need to save the family, or to destroy it? Do lines of descent still make sense for artists, or have networks taken their place? From the queer family to the nuclear family, from the commune to neopatriarchy, it lives on in many forms – even in the family of an art magazine.
With contributions by Bruce Hainley, Dominikus Müller, Alison M. Gingeras, Dean Kissick, Michael Hardt, Nina Power, Nicolaus Schafhausen, Aki Sasamoto, Aaron Moulton, Daniel Baumann, Felix Bernstein, Jamieson Webster und Chiara Bottici, and many more.
Paul Jung on Melitta Baumeister
Aladdin Sane (Pinky), 2014
Screenprint in colors on 300gsm Somerset satin white paper
45 x 45 cm (17.72 x 17.72 in)
Edition of 65
Signed and dated in pencil on lower right, recto; numbered in pencil on lower left, recto
Nature and Artifice
Bracelet // rawhide
Bracelet, daily support, is cut out of rawhide and stitched to fit.
It is designed to symbolically support the elbow and wrist.
Clementine by Jardan
Simple proportions conceal Clementine’s complex mitred joinery.
Made to order in an array of sizes for both residential and commercial settings. Range includes bedsides, tallboys and sideboards.
Design by N Garnham
Acne Studios Fall-Winter 2016 sale
(Not) Safe For Work
Mel Ramos’s provocative, humorous paintings mix idealized nude women with the imagery of popular culture—Coca Cola bottles, movie posters, and the like. A prolific artist from his emergence in the 1960s onward, Ramos has often based his nudes on the female celebrities of the day, from Marilyn Monroe to Scarlett Johansson. His style references the sensuality and glossy flatness of pin-ups and Playboy spreads and has drawn the ire of feminists and art critics alike, despite Ramos’s assertion that his works are “apolitical”. Though clearly aligned with Pop art in his appropriation of imagery from mass media and consumer products, Ramos calls his practice rooted in Surrealism and its emphasis on “absurd conjunctions”—in his case, a beautiful nude woman emerging from a Snickers wrapper or lounging seductively in a banana split.
American, b. 1935, Sacramento, California, based in Oakland, California
Errol Sofa by Jardan
Errol’s sumptuous oversized cushioning sits lightly on its feet.
Made to order fully upholstered and available with a contrast trim option. Range includes sofas, armchairs and ottomans with deep options available.
Design by Jardan Lab
Edition of 600
Hardcover 26×24 cm
This publication explores the painting practice of New York–based, Italian-born artist Matteo Callegari. Organized in sections according to the artist’s bodies of work, the volume digs into Callegari’s constellation of references — from ancient funerary sculpture to Renaissance painting — and rearticulates materials according to the artist’s strategies of image-making. Design studio Front Desk Apparatus imitates Callegari’s painting practices of distortion and delineation in order to freeze the moment in which the images’ semantic value deteriorates. Callegari’s paintings appear in these pages as corrupted data, information bugs; at the same time they fight for their own iconicity. Embodying the very process of the artworks’s making, this book can be read as the platform of Callegari’s “painting system.”